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By Ellen Blumenstein, Jean-Louis Comolli, Céline Condorelli, Doris von Drathen, Nuria Enguita May,

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Marshall’s embodiment of the commemoration of this memory in the emphatically two-dimensional bodies of three children is hyper-symbolic, continuing a trope of ‘ultra-blackness’ that began with some of his earliest works. Marshall described this notion in a letter responding to the film-maker Arthur Jafa: ‘The figures I paint are a literal representation of our rhetorical identity. “Black” people — highly stylised, unequivocal and completely self-conscious. ’ 4 The flatness of Marshall’s figures is as powerful as their blackness, as each of them — while standing, kneeling or curled up in a foetal position — is placed on shadows as black as they are.

Pedro Costa Kerry James Marshall, Vignette #5, 2004, acrylic on Perspex, 72 × 60cm, Kerry James Marshall’s Tempting Painting — Terry R. Myers detail. Courtesy the artist and Jack Shainman Gallery, New York What is the line between a painter and an artist who uses paint? In this exploration of Kerry James Marshall’s iconic paintings — and his moves away from them towards installation — Terry R. Myers investigates what is at stake in calling an artist ‘a painter’. Unaware or unwilling to admit that some would be tempted to call certain artists painters because, funnily enough, they make paintings, in an interview that preceded the opening of her documenta X (1997), Catherine David resorted to what is now called ‘spin’: Robert Storr: Other than, possibly, Ryman, definitely Richter, and, alas, not Polke, were there any other artists making paintings that you saw as at least potentially part of this discussion?

63—73 (especially the chapter ‘Le texte et la répétition’). Costa shot In Vanda's Room and Colossal Youth with a digital camera but transferred the footage onto 35mm film for the final print. Tom Gunning has recently made an interesting suggestion to reconsider cinematic indexicality in terms of movement rather than in terms of photographic referentiality. 29—52. 301—49. 58 | Afterall Kracauer’s ‘redemption of physical reality’, Stanley Cavell’s ‘automatic world projection’ or André Bazin’s ‘ontology of the photographic image’ all point to this same quality, no matter which metaphor the process attracted (the image as ‘trace,’ ‘imprint’ or ‘transsubstantiation’ of the real).

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Afterall: A Journal of Art, Context, and Enquiry volume 24 Spring 2010 by Ellen Blumenstein, Jean-Louis Comolli, Céline Condorelli, Doris von Drathen, Nuria Enguita May,


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